Film: Charles Atlas
Music: Mikel Rouse, International Cloud Atlas
Décor: Henry Samelson
Costumes: Henry Samelson
Lighting: Josh Johnson
Mies van der Rohe Pavilion as part of the LOOP Festival Barcelona on November 17th, 2018
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INTERNATIONAL CLOUD ATLAS Music composed and arranged for iPods
For The Merce Cunningham Dance Company’s eyeSpace
In 2005 I was approached by the Merce Cunningham Dance Company to compose a piece of music for iPods. I was immediately attracted to the idea of composing for iPods, as so much of my work has been involved with new technologies. From the beginning, I knew I wanted to employ the “shuffle” characteristic of the iPod as a compositional device, thereby allowing each audience member to have his or her own unique sequence of the score.
I also wanted to include all the dancers in the recording of the iPod score. The dancers contributed vocal, instrumental and spoken word performances. I am extremely grateful for the creativity and enthusiasm that the dancers brought to these recording sessions.
There is also an additional “environmental score” that is performed live in the theater and represents the cityscape of sounds that music devices attempt to tune out. I am grateful to Stephan Moore for his invaluable contribution to the sound design of this aspect of the piece.
In 2001, I conceived and produced the first commercially available CDROM of a John Cage Prepared Piano sample library. My interest in this idea was two-fold: to extend the life of Cage’s works for prepared piano and to provide composers, performers and recording enthusiasts the opportunity to utilize these sounds on an electronic keyboard.
The music on INTERNATIONAL CLOUD ATLAS is my second use of these samples in my own composition, which continues my interest in utilizing complex structures within the framework of vernacular music. I am grateful to Laura Kuhn, Larry Larson and the John Cage Trust for the support of the prepared piano project.
-2006 Mikel Rouse
The music for INTERNATIONAL CLOUD ATLAS, as well as other music by Mikel Rouse is available on iTunes.
The music for INTERNATIONAL CLOUD ATLAS was commissioned by the Cunningham Dance Foundation, Inc., the John Cage Trust and Betty Freeman.
Written, arranged and produced by Mikel Rouse
© & P 2006 Mikel Rouse / All rights reserved
Published by Club Soda Music (ASCAP)
Lyrics used by permission
Recorded and mixed November 2005–May 2006 at ExitMusic, NYC
Mastered at ExitMusic, NYC
INTERNATIONAL CLOUD ATLAS Recording Credits:
- AMERICA’S SECRETS Marit Brook-Kothlow: vocals; Lisa Boudreau: vocals
- HOW I STAYED BLIND Julie Cunningham: vocals; Christina Pawl: trumpet; Andrea Weber: spoken text; Jennifer Goggans: spoken text
- QUANDO ESTE LADO ESTÁ VAZIO Susana Ribeiro: vocals; Mark Lambert: vocals, guitar; Julie Cunningham: vocals; Emily Stone: cello
- GAZA STRIP MALL (GET HAPPY) Marit Brook-Kothlow: vocals; Holley Farmer: spoken text
- GOVERN MY LOVE (QUASE PERDI MEU GARFO) Marit Brook-Kothlow: vocals; Susana Ribeiro: vocals; Mark Lambert: vocals, guitar; Marcie Munnerlyn and Cédric Andrieux: spoken word; Myra Grace Mushalla, Cédric Andrieux, Rashaun Mitchell, Marcie Munnerlyn, Daniel Squire: chorus
- TWIN MINUTES Jennifer Goggans: vocals; Brandon A. Collwes: vocals; Emma Desjardins: spoken text; Emily Stone: cello; Koji Mizuta: didgeridoo; Jonah Bokaer: Giant Tone record player
- MY LOVE’S GONE REMIX Marit Brook-Kothlow: vocals
- COMO EU ESTIVE CEGO Susana Ribeiro: vocals; Mark Lambert: vocals, guitar; Julie Cunningham: vocals; Christina Pawl: trumpet
- WHEN THIS SIDE IS EMPTY Lisa Boudreau: vocals
- CLARION HOTEL Robert Swinston: rehearsal coach; Julie Cunningham: vocals; Emily Stone: cello
MIKEL ROUSE: vocals, acoustic, electric and slide guitars, banjo, ukulele, squeezebox, keyboards, prepared piano samples, harmonica, percussion, soundscapes.
Portuguese translations and additional musical arrangements on tracks 3, 5 and 8: Susana Ribeiro and Mark Lambert.
French translations on track 5: Cédric Andrieux.
Composer’s note: The sequence of tracks on this recording represents but one version of this composition. As with the dance performance, the sequence may be set to “shuffle” to yield a possible 3,628,800 permutations.